Geneva Anderson digs into art

In the Tony Award-winning play “Red” at Berkeley Rep through May 12, 2012, renowned painter Mark Rothko (David Chandler) engages in a battle of wits with his assistant (John Brummer, at left). Photo courtesy of kevinberne.com

For days, I’ve thought about Mark Rothko and Berkeley’s Rep’s red-hot Red. There’s a fascinating tension in the play that involves watching the thermodynamics of Rothko’s savage personality reel into something increasingly repulsive and tragic and experiencing another set of thermodynamics at play around the fragility of his creative process and his efforts to protect his artworks from the harshness of the world. And that’s the crux of Red—we are watching subtle transitions to other states of being unfold in man and art, right before our eyes. That’s complex and John Logan’s intimate two character play, under Les Waters’ powerful direction, could not be more engrossing. Originally scheduled to close on April 29, 2012, Berkeley Rep has just added 12 more performances of Red, so it will now run through May 12, 2012. If you’ve never before crossed the San Rafael-Richmond Bridge into Berkeley for art, this multi-Tony drama is worth the effort.

In the Tony Award-winning play “Red” at Berkeley Rep through May 12, 2012, renowned painter Mark Rothko (David Chandler) engages in a battle of wits with his assistant (John Brummer, at left). Photo courtesy of kevinberne.com

One of the best things about Red is its realistic set, designed by Louisa Thompson, on Berkeley rep’s intimate Thrust stage. It evokes the temporary New York Bowery studio that Rothko used from 1958-1960, when he painted 40 enormous murals for the swank Four Seasons restaurant in the newly completed Seagram Building on Park Avenue. The entire 90 minute play unfolds in this paint-encrusted studio, which is laid out with a ladder and a paint splattered wooden work table, old cans and jars full of brushes, rags and buckets of paint. Rear panels move to expose a wall of lights, designed by Alexander V. Nichols, that illuminate Rothko’s discussion of the importance of light and why natural light is insufficient for him. What the audience is privy to in this studio though is mainly talk—a running conversation between Rothko (David Chandler) and Ken (John Brummer), a young painter who is hired, just as the play begins, to assist Rothko, at the peak of his career, with whatever he wants.

It’s hard to imagine anyone who’d be a better fit for the role than Chandler, who so thoroughly embodies Rothko’s fierce narcissistic grandiosity and numerous insecurities that’s he literally frightening to behold. Rothko lectures, berates and prods Ken, insisting that he is not there to teach him, but, of course, an ego this large can’t resist sharing and what ensues is a passionate live course in art history and art appreciation for young Ken. The problem—Rothko needs to be in total control and reflexively shoots down anything anyone says. Ken, who serves almost a cipher/slave in the beginning, really begins to come into himself once he accepts Rothko’s dangerous invitation for discourse and begins to express some very interesting opinions despite Rothko’s limitations. Ken is John Brummer’s debut role with Berkeley Rep and he does a remarkable job. Ken is a character who’s got a fascinating side story of suffering and anguish that, by all rights, should leave him as screwed up as Rothko is but it doesn’t. One of the best exchanges between the two men takes places as Rothko brilliantly defends the old masters—Picasso, Matisse, Van Gogh, Michelangelo and Caravaggio against Ken’s list of new painters —Jasper Johns, Jackson Pollack, Frank Stella, Robert Rauschenberg. The art discourse is superbly crafted and avoids the perilous slip into clichéd references, instead getting into some meaty philosophical issues. I can’t recall one affirmational thing that Rothko says to Ken at any point in the play. About the highest compliment that Rothko pays him is expressed in the negative, telling him that he’s gotten all he can out of the studio experience and he needs to move on.

One of the Red’s highlights comes when the two men, working quite feverishly, prime a canvas with red paint, orchestrated to gorgeous classical music. This single very theatrical act of priming speaks volumes. As much as the play is about painting though, the act of painting isn’t really shown as much as it is inferred. In Mark Rothko’s studio, the magic of the artistic process is tightly controlled and there is a critical balance and tension that is sought—learning how far to go until everything changes and becomes something else. Rothko lives on that edge with both color and process and it seems the very best and worst moment is when a piece of art slips away from his grasp and develops into something that he can no longer predict from the ingredients and processes he used. When we look at a Rothko, in low light, there’s a magical sense of transition—shifts between solid, liquid and gaseous states of matter, shifting from one form of being into another—something not so easily understandable, but deeply recognized and felt. What Logan has done and these two actors beautifully embody is the subtle tipping points in human character too—Rothko tilts from pompous to sickening to borderline dangerous, very tragic, while Ken becomes more insightful, interesting, and attractive for who he is and what he’ been through.

A Rothko at auction now: Neither art nor theatre happens in a vacuum. On May 8 and 9, 2012, Christies New York will sell the Pinkus Family’s 1961 Rothko, “Orange, Red, Yellow,” which is roughly from the same period that John Logan’s play Red references. The 1961 painting was purchased by David and Geraldine Pinkus from the Marlborough Gallery in New York in 1967. Measuring nearly 8 feet by 7 feet, the painting is unusually large and of vibrant orange and reds. It is estimated to sell for $35 million to $45 million. Other abstract expressionist works from the Pinkus collection, from this period will be auctioned too, including works by Willem de Kooning, Barnett Newman, Jackson Pollock, Mark Rothko, Clyfford Still and Arshile Gorky. Several of these artists are mentioned in Red. Christies calls this “the most important and comprehensive ensemble of Abstract Expressionism ever to come to auction.”

Rothko’s have been making the news for years with their record-setting prices at auction. In early November, 2005, Rothko’s 1953 oil on canvas painting, Homage to Matisse, broke the record selling price of any post-war painting at a public auction, at US$ 22.5 million.

In May 2007, Rothko’s 1950 painting White Center (Yellow, Pink and Lavender on Rose), sold by philanthropist David Rockefeller, broke this record again, selling at US$ 72.8 million at Sotheby’s, New York.

More about John Logan: San Diego born (9.24.61) playwright, screenwriter and film producer John Logan grew up in California and New Jersey and attended Northwestern University in Chicago. He received the Tony Award, Drama Desk, Outer Critics Circle, and Drama League Awards for Red. It premiered in 2009 at the Donmar Warehouse in London and, in 2010, played at the Golden Theatre on Broadway, where it won five other Tony Awards as well. Logan is the author of more than a dozen plays, including Hauptmann and Never the Sinner. His adaptation of Ibsen’s The MasterBuilder premiered on the West End in 2003. As a screenwriter, Logan had three movies released in 2011: Coriolanus, Hugo, and Rango. His previous film work includes Any Given Sunday, TheAviator (Oscar, Golden Globe, British Academy of Film and Television Arts, and Writers Guild of America nominations), Gladiator (Oscar, Golden Globe, BAFTA, and WGA nominations), TheLast Samurai, RKO 281 (WGA award and Emmy nomination), and Sweeney Todd (Golden Globe Award).